Case Number 09491

16 BLOCKS (HD DVD AND DVD COMBO)

The Charge

"Jack...all ya gotta do is look the other way..."

Opening Statement

Where is it that old cops go to die? While far too many are struck down
before their time on the urban battlefields, some still manage to survive into
their twilight years. Although they may have admirably fulfilled their duties
over the course of their careers, the rigors of their assignments can leave them
wanting to peacefully complete their service. What happens, then, if those plans
for graceful exit are abruptly interrupted in life-threatening fashion? In
Warner Brothers' new 16 Blocks release, a street-weary detective is about
to find out.

Facts of the Case

"I believe life's too long and people like you make it longer."

So grumbles Jack Mosley (Bruce Willis, Die Hard With A Vengeance), an
aging NYPD cop with a burning in his eyes but none for his profession. Much like
the flaccid belly that hangs over his belt, there's likewise a whiskey induced
fog that all but obscures over his wakefulness. Now regarded as a do-nothing
officer, Jack swigs a bottle from his disheveled desk, eager only to edge his
way to retirement while staying under the radar and generally out of sight. He's
befuddled and even agitated, then, when his lieutenant asks him to escort a key
witness sixteen blocks across town to the courthouse to provide critical
testimony before a grand jury. Now, with this "star witness" -- an
incessantly prattling petty thief, Eddie Bunker (Mos Def, The Hitchhiker's
Guide to the Galaxy) -- riding in the backseat, Mosley's certain he's been
on this job far too long. Exasperated by the snarled traffic and the unending
blather from the backseat, Mosley pulls over to the nearest liquor store to
finger a bottle of Canadian Club and soften the pounding in his head. Meanwhile,
the handcuffed Eddie, left in the curbside car, finds himself looking down the
barrel of a gun when two thugs attempt to rub out the witness. Jack saves the
day only to learn that Eddie holds eyewitness testimony which will expose the
illicit tactics of several of Jack's peers, including Jack's former 20-year
partner, Frank Nugent (David Morse, The Green Mile). Despite Frank's
urging that Jack merely step aside and not involve himself in this particular
matter, Jack's unable to stand by and see this witness silenced -- permanently.
Now, Jack and Eddie must find a way to get to the courthouse before the opposing
officers can silence the both of them.

The Evidence

Simply put, 16 Blocks works well because it knows its boundaries and
is clear in its intent. It succeeds on so many levels in a time when much of
this police action fare has become little more than a nauseating swirl of
bombast without base. At first glance, this certainly looks like just another
"cop flick" but, within its first five minutes, it reveals itself as
something more. It's a smartly-written and well-executed narrative that bucks
the current trend of frenetic pacing in welcome deference to properly developing
its characters and providing action sequences only when they actually serve the
plot. Director Richard Donner (Conspiracy Theory, Lethal Weapon)
and screenwriter Richard Wenk seem to gel here and deliver a film that utilizes
deliberate pacing, delivers unexpected twists, and provides its actors an
opportunity to perform (rather than be upstaged by explosive set-pieces).
Equally effective is Glen MacPherson's cinematography and Steve Mirkovich's
editing, both combining to give the usually sprawling New York City landscape a
highly claustrophobic feel, adding perfect punctuation to the film's
premise.

If you're expecting to see the typical Bruce-Willis-as-John-McClane
exploits, forget it. Almost unrecognizable upon initial appearance, this is a
paunchy, pallid, bleary-eyed Willis. He effectively turns his usual tough cop
character inside out to reveal a bloated and burned out drunk who's too spent to
do his job anymore. When he puts down the first would-be assailant, Willis
skillfully infuses Jack with an appropriate level of dead-eye reflexes yet
maintains that this particular cop can only do so between extended gasps for
air. Inarguably an accomplished action film favorite, Willis seems to
effortlessly sidestep his 1990s typecasting to turn out a performance that's
genuinely engaging and fully entertaining.

Mos Def unexpectedly shines as Eddie Bunker. His nasal, whiny voice is
immediately irritating, providing the viewer the same annoyance as Jack. Yet,
just as you begin to wonder if you can tolerate Eddie for the ensuing 95
minutes, his character compellingly emerges as a former criminal with
aspirations to succeed in -- of all things -- a birthday cake business, if he
can only stay alive. Def manages his character with remarkable precision,
effectively toning down his quirky vocalizations and random ramblings to provide
deft commentary and exposition. Most notable is that Def doesn't shrink in
Willis' presence yet, likewise, restrains himself from overshooting the mark.
The result is a well-balanced performance that compliments Willis' and succeeds
in presenting an embattled duo that elicits genuine empathy.

If you enjoy corrupt baddies, you'll revel in hissing David Morse here. He's
cool and calculating as he works to influence Jack into handing over Eddie yet
is disturbingly explosive when Jack defies his former partner's insistences.
Morse plays his steely determination with unwavering precision as he and his
rogue cop cronies are determined to snuff out any possibility that Eddie will
testify. This determination gives way to captivating moments of desperation as
Morse's character senses his plot is unraveling at the hands of a hung over yet
formidable adversary, Jack.

Warner Brothers releases yet another day-and-date HD/SD hybrid disc
alongside the standard DVD. Like Rumor Has It... and Firewall,
this too is offered in the HD-15/DVD-9 hybrid disc format. The HD side delivers
16 Blocks in an exquisite 2.40:1 widescreen transfer. The opening shot, a
black-and-white sequence that foreshadows a key standoff appearing later in the
picture (a la Swordfish), provides an incredible pan up to a S.W.A.T.
officer's rifle scope that is so crisp and clear that it has to be seen to be
believed. From there, the rest of film is likewise embellished with superior
detail levels, deep black levels, and perfect color saturation. The audio is
presented in an enjoyable active Dolby Digital-Plus 5.1 mix that excellently
separates the channels to provide a realistic feel of a crowded city
environment. Front channel separation is particularly well managed as off-screen
dialogue is perfectly distanced from the character in frame (see Chapter 12).
You'll also be able to count each bullet casing that clatters along the ground.
The low-end workout is somewhat limited yet it rumbles in pleasing fashion at
the appropriate moments. From a purely technical standpoint, playback of this HD
transfer went smoothly and without incident (and it's recommended you perform
Toshiba's easy firmware upgrade to version 1.2).

The flipside of the disc contains the SD transfer of the film, also framed
at 2.40:1 and anamorphically enhanced. Frankly, this is a respectable transfer
that, while it can't compete with the HD presentation, should be considered
among the better work from Warner Brothers. It's accompanied by a standard Dolby
Digital 5.1 Surround track that works well. The extras, also in 480p standard
definition, are found on side two, beginning with what's billed as a "shock
alternate ending." It's hardly a shock, per se, but it's certainly more
somber that what appears in the theatrical cut. Next up is an entertaining
20-minute look at various deleted scenes, introduced on screen by Donner and
Wenk. A nice touch here is the use of a quasi In Movie Experience: a
picture-in-picture inset of Donner and Wenk appears over the scenes as the two
comment on the various content and their reasons for excising it. An anamorphic
trailer wraps up the bonus features. The only disappointment here is the lack of
a feature-length commentary track.

The Rebuttal Witnesses

The only disappointment with 16 Blocks is its promotional artwork,
that featuring Willis and Def huddled against a wall. This image suggests this
is another Willis vehicle drawn from the Die Hard With A Vengeance
formula where a white cop and a black contemporary are thrust into a dire
situation. The situation is dire but any racial messaging is thankfully absent.
Unlike Samuel Jackson's character that continually pounded his chest over race
and class inequalities, here Willis and Def join as personalities and not as
superficial stereotypes. The result is the characterization is much better
realized and the twists are significantly more effective when they occur. The
key art for the film tends to promote the aforementioned superficiality, perhaps
fearful that a character drama may not pull in movie-goers. In actuality, the
film that does unfold is far better than what was sold outside the theater box
office (or on the DVD keep case).

Closing Statement

16 Blocks is definitely an overachiever and a welcome departure from
some of the mind-numbing, in-your-face police thrillers of the day. Look for
excellent performances and a script that isn't afraid to take its time in
delivering an engaging conflict. As for the HD transfer, it's top-notch and
provides excellent visual and aural elements to fully enhance the viewing
experience. Highly recommended.